Shinsuke Aso, Luis Miguel Bendaña, Poy Born, Alex da Corte, Dana DeGiulio,
Hunter Foster, Jesse Harrod, Richard Hawkins, Matthew Landry, Tony Luensman,
Miller/Shellabarger, Ulrike Müller, William J. O’Brien, BD Pack, Daisy Palma,
Eric Ruschman, Ryan Shubert, Amy Sillman, Joan Snyder
1. The epistemologies typically attributed to an analysis of the material conditions of an
artwork’s production are almost always available through a phenomenological encounter
with the art object itself.
2. Black is back.
3. There is a space beyond explicit depictions of same-sex coital encounters where
eroticism and desire take other forms. Overturn anything and you’re bound to find sex.
4. For a period of time in the late 1950s, Agnes Martin and Ellsworth Kelly’s studios
adjoined one another, and on most mornings they breakfasted together. This matters.
5. Coalitions across lines of difference are preferable to the eradication of nuanced
6. Codes, closets, and separatism continue to be useful both as historical points of
reference, but also as formal moves of constraint to play against the limits of painting.
This exhibition marks the completion of the first iteration of ‘Painting Queer,’ an
undergraduate multi-level studio course Matt Morris taught at the School of the Art
Institute of Chicago.
A small publication will be released in conjunction with the exhibition featuring
contributions by David Getsy, Richard Hawkins, Matt Morris, Ulrike Müller, Lisi Raskin,